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BankofMarquis (1832 KP) rated Alien (1979) in Movies
Feb 22, 2020
This classic holds up very, very well more than 40 years later
I convinced my cynical 19 year old to watch an "ancient" film (her phrase) - so I was careful with my choice. I know she likes horror, so thought I would try to see if she could be scared the old fashioned way and pulled the 1979 Sci-Fi/Horror classic ALIEN off the shelves to show her.
It scared the crap outta her.
Directed by Ridley Scott (more on him later) Alien tells the tale of a working-class deep space vehicle, returning home with a full cargo when they intercept a distress call at a distant, non-descript planet, they go to investigate and...
As told by Ridley Scott, based on a script and story by Dan O'Bannon, Alien is a masterwork in suspense and mood. Scott takes his time telling this story, setting up the feel and atmosphere, showing a gritty, working-man's vessel (and not a sleek silver and chrome shiny ship) where the people inside the craft are not heroes, but working class stiff's just trying to make a buck.
What surprised me this time around seeing this film is how deliberate (some would say slow) that the pacing of this film is - but, darn it all, if it doesn't work. The tension slowly builds so when violence/action happens it explodes and seems all the bigger due to the fact that it is coming out of silence.
The cast - a group of relative unknowns at the time - is stellar. In the DVD commentary, Director Scott said he spent quite a bit of time casting this film to ensure he had the right mix - and his work shows on screen. The 7 actors in this film work well together - and each one of them brings a real character to the screen that is interesting to watch.
Tom Skerrit (the film version of M*A*S*H) as laconic, laid back Captain Dallas and Yaphet Kotto (the villain in the James Bond flick LIVE AND LET DIE) as gruff, looking-for-a-buck mechanic Parker were the most well known of the 7 at the time of the release of the film - and they do bring some star power to the proceedings, but are met, evenly, by others like former child star Veronica Cartwright (Alfred Hitchcock's THE BIRDS), veteran character Actor Harry Dean Stanton ( THE ROSE) and John Hurt (THE ELEPHANT MAN). All 3 bring interesting characters - and faces - to the proceedings.
But...for me 2 the standouts in this cast is IAN HOLM (TIME BANDITS) as Science Officer Ash - a character with some "quirks" (to put it mildly) and, of course Sigourney Weaver (GHOSTBUSTERS) in her star making role as 3rd officer Ripley. I don't want to spoil anything in this film, but Weaver's Ripley is the type of strong female character - fighting the typical, chauvinistic male hierarchy - that was heretofore unknown/rarely seen in film and is the prototype of these types of characters to this day. Weaver's performance and the writing and direction of this character is that strong/groundbreaking that it continues to influence writing and filmmaking all these years later.
The 8th character in this film is the look and feel of the ship - the Nostromo - and the look and feel of the titular Alien character as brought to life in an Oscar winning effort in Visual Effects for the team of H.R. Giger, Carlo Rambaldi, Brian Johnson, Nick Allder and Dennis Ayling (based on drawings by Giger). This is truly remarkable, bravura and groundbreaking design and filmmaking - one that holds up very well more than 40 years later - made all the more astounding when you realize that these are all practical effects (CGI had not be invented yet) and the filmmakers had to rely on puppetry, editing, performance and what you don't see (but your mind thinks you do) to fill in the gaps.
It all works tremendously well - if you haven't seen this in awhile, do yourself a favor and watch it again. If you have never seen it, well...you are in for a treat.
Letter Grade: A+
10 Stars (out of 10) and you can take that to the Bank(ofMarquis)
It scared the crap outta her.
Directed by Ridley Scott (more on him later) Alien tells the tale of a working-class deep space vehicle, returning home with a full cargo when they intercept a distress call at a distant, non-descript planet, they go to investigate and...
As told by Ridley Scott, based on a script and story by Dan O'Bannon, Alien is a masterwork in suspense and mood. Scott takes his time telling this story, setting up the feel and atmosphere, showing a gritty, working-man's vessel (and not a sleek silver and chrome shiny ship) where the people inside the craft are not heroes, but working class stiff's just trying to make a buck.
What surprised me this time around seeing this film is how deliberate (some would say slow) that the pacing of this film is - but, darn it all, if it doesn't work. The tension slowly builds so when violence/action happens it explodes and seems all the bigger due to the fact that it is coming out of silence.
The cast - a group of relative unknowns at the time - is stellar. In the DVD commentary, Director Scott said he spent quite a bit of time casting this film to ensure he had the right mix - and his work shows on screen. The 7 actors in this film work well together - and each one of them brings a real character to the screen that is interesting to watch.
Tom Skerrit (the film version of M*A*S*H) as laconic, laid back Captain Dallas and Yaphet Kotto (the villain in the James Bond flick LIVE AND LET DIE) as gruff, looking-for-a-buck mechanic Parker were the most well known of the 7 at the time of the release of the film - and they do bring some star power to the proceedings, but are met, evenly, by others like former child star Veronica Cartwright (Alfred Hitchcock's THE BIRDS), veteran character Actor Harry Dean Stanton ( THE ROSE) and John Hurt (THE ELEPHANT MAN). All 3 bring interesting characters - and faces - to the proceedings.
But...for me 2 the standouts in this cast is IAN HOLM (TIME BANDITS) as Science Officer Ash - a character with some "quirks" (to put it mildly) and, of course Sigourney Weaver (GHOSTBUSTERS) in her star making role as 3rd officer Ripley. I don't want to spoil anything in this film, but Weaver's Ripley is the type of strong female character - fighting the typical, chauvinistic male hierarchy - that was heretofore unknown/rarely seen in film and is the prototype of these types of characters to this day. Weaver's performance and the writing and direction of this character is that strong/groundbreaking that it continues to influence writing and filmmaking all these years later.
The 8th character in this film is the look and feel of the ship - the Nostromo - and the look and feel of the titular Alien character as brought to life in an Oscar winning effort in Visual Effects for the team of H.R. Giger, Carlo Rambaldi, Brian Johnson, Nick Allder and Dennis Ayling (based on drawings by Giger). This is truly remarkable, bravura and groundbreaking design and filmmaking - one that holds up very well more than 40 years later - made all the more astounding when you realize that these are all practical effects (CGI had not be invented yet) and the filmmakers had to rely on puppetry, editing, performance and what you don't see (but your mind thinks you do) to fill in the gaps.
It all works tremendously well - if you haven't seen this in awhile, do yourself a favor and watch it again. If you have never seen it, well...you are in for a treat.
Letter Grade: A+
10 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Jackie (2016) in Movies
Sep 29, 2021
Spoiler! Her husband gets shot.
“Jackie” tells the story of the spiralling grief, loss and anger of Jackie Kennedy driven by the assassination of JFK in Dallas in November 1963. Hopping backwards and forwards in flashback, the film centres on the first interview given by Jackie (Natalie Portman, “Black Swan”) to a ‘Time’ journalist (Billy Crudup, “Watchmen”, “Spotlight”).
Through this interview we flashback to see Jackie as the young First Lady engaged in recording a TV special for a tour of the White House: nervous, unsure of herself and with a ‘baby girl’ voice. This contrasts with her demeanour in the interview which – although subject to emotional outburst and grief – is assured, confident and above all extremely assertive. We live the film through Jackie’s eyes as she experiences the arrival in Dallas, the traumatic events of November 22nd in Dealey Plaza, the return home to Washington and the complicated arrangement of the President’s funeral.
This is an acting tour de force for Natalie Portman, who is astonishingly emotional as the grief-stricken ex-first lady. She nails this role utterly and completely. Having already won the Golden Globe for an actress in a dramatic role, you would be a foolish man to bet against her not taking the Oscar. (I know I said just the other week that I though Emma Stone should get it for “La La Land” – as another Golden Globe winner, for the Comedy/Musical category – and a large part of my heart would still really like to see Stone win it…. But excellent as that performance was, this is a far more challenging role.)
In a key supporting role is Peter Sarsgaard (“The Magnificent Seven”) as Bobby Kennedy (although his lookalike is not one of the best: that accolade I would give to Gaspard Koenig, in an un-speaking role, as the young Ted Kennedy).
Also providing interesting support as Jackie’s priest is John Hurt (“Alien”, “Dr Who”) and, as Jackie’s close friend, the artist Bill Walton, is Richard E Grant (“Withnail and I”, who as he grows older is looking more and more like Geoffrey Rush – I was sure it was him!).
Director Pablo Larraín (whose previous work I am not familiar with) automatically assumes that EVERYONE has the background history to understand the narrative without further explanation: perhaps as this happened 54 years ago, this is a bit of a presumption for younger viewers? Naturally for people of my advanced years, these events are as burned into our collective psyches as the images in the Zapruder film.
While the film focuses predominantly, and brilliantly, on Jackie’s mental state, the film does gently question (via an outburst from Bobby) as to what JFK actually achieved in his all too short presidency – ‘Will he be remembered for resolving the Cuban missile crisis: something he originally created?’ rants Bobby. In reality, JFK is remembered in history for this assassination and the lost potential for what he might have done. I would have liked the script to have delved a little bit further into that collective soul-searching.
This is a very sombre movie in tone, from the bleak opening, with a soundtrack of sonorous strings, to the bleak weather-swept scenes at Arlington cemetery. The cinematography (by Stéphane Fontaine, “Rust and Bone”) cleverly contrasts between the vibrant hues of Jackie’s “Camelot” to the washed-out blueish tones of the post-assassination events. If you don’t feel depressed going into this film, you probably will be coming out! But the journey is a satisfying one nonetheless, and the script by Noah Oppenheim – in a SIGNIFICANT departure from his previous teen-flick screenplays for “Allegiant” and “The Maze Runner” – is both tight and thought-provoking.
Overall, a recommended watch which comes with a prediction: “And the Oscar goes to… Natalie Portman”.
Finally, note that for those of a squeamish disposition, there is a very graphic depiction of the assassination from Jackie’s point-of-view…. but this is not until nearly the end of the film, so you are reasonably safe until then!
Also as a final general whinge, could directors PLEASE place an embargo on the logos of more than two production companies coming up at the start of a film? This has about six of them and is farcical, aping the (very amusing) parody in “Family Guy” (as shown here).
Through this interview we flashback to see Jackie as the young First Lady engaged in recording a TV special for a tour of the White House: nervous, unsure of herself and with a ‘baby girl’ voice. This contrasts with her demeanour in the interview which – although subject to emotional outburst and grief – is assured, confident and above all extremely assertive. We live the film through Jackie’s eyes as she experiences the arrival in Dallas, the traumatic events of November 22nd in Dealey Plaza, the return home to Washington and the complicated arrangement of the President’s funeral.
This is an acting tour de force for Natalie Portman, who is astonishingly emotional as the grief-stricken ex-first lady. She nails this role utterly and completely. Having already won the Golden Globe for an actress in a dramatic role, you would be a foolish man to bet against her not taking the Oscar. (I know I said just the other week that I though Emma Stone should get it for “La La Land” – as another Golden Globe winner, for the Comedy/Musical category – and a large part of my heart would still really like to see Stone win it…. But excellent as that performance was, this is a far more challenging role.)
In a key supporting role is Peter Sarsgaard (“The Magnificent Seven”) as Bobby Kennedy (although his lookalike is not one of the best: that accolade I would give to Gaspard Koenig, in an un-speaking role, as the young Ted Kennedy).
Also providing interesting support as Jackie’s priest is John Hurt (“Alien”, “Dr Who”) and, as Jackie’s close friend, the artist Bill Walton, is Richard E Grant (“Withnail and I”, who as he grows older is looking more and more like Geoffrey Rush – I was sure it was him!).
Director Pablo Larraín (whose previous work I am not familiar with) automatically assumes that EVERYONE has the background history to understand the narrative without further explanation: perhaps as this happened 54 years ago, this is a bit of a presumption for younger viewers? Naturally for people of my advanced years, these events are as burned into our collective psyches as the images in the Zapruder film.
While the film focuses predominantly, and brilliantly, on Jackie’s mental state, the film does gently question (via an outburst from Bobby) as to what JFK actually achieved in his all too short presidency – ‘Will he be remembered for resolving the Cuban missile crisis: something he originally created?’ rants Bobby. In reality, JFK is remembered in history for this assassination and the lost potential for what he might have done. I would have liked the script to have delved a little bit further into that collective soul-searching.
This is a very sombre movie in tone, from the bleak opening, with a soundtrack of sonorous strings, to the bleak weather-swept scenes at Arlington cemetery. The cinematography (by Stéphane Fontaine, “Rust and Bone”) cleverly contrasts between the vibrant hues of Jackie’s “Camelot” to the washed-out blueish tones of the post-assassination events. If you don’t feel depressed going into this film, you probably will be coming out! But the journey is a satisfying one nonetheless, and the script by Noah Oppenheim – in a SIGNIFICANT departure from his previous teen-flick screenplays for “Allegiant” and “The Maze Runner” – is both tight and thought-provoking.
Overall, a recommended watch which comes with a prediction: “And the Oscar goes to… Natalie Portman”.
Finally, note that for those of a squeamish disposition, there is a very graphic depiction of the assassination from Jackie’s point-of-view…. but this is not until nearly the end of the film, so you are reasonably safe until then!
Also as a final general whinge, could directors PLEASE place an embargo on the logos of more than two production companies coming up at the start of a film? This has about six of them and is farcical, aping the (very amusing) parody in “Family Guy” (as shown here).
Corey Richard Bennett (10 KP) rated Days Gone in Video Games
Jul 18, 2019
A story that captivates from beginning to end (2 more)
Characters worth getting invested in
Addicting Gameplay
Contains spoilers, click to show
Days Gone is a story of Deacon St. John as he deals with a world tortured by a zombie horde known as Freakers. The story happens a few years after the outbreak and after seemingly losing his wife after sending her off on a rescue helicopter. Deacon travels around beautiful Oregon with his best friend Boozer on their trusty bikes. Throughout the game Deacon will intertwine his story with 4 other survivor camps, as he helps them survive the zombie stricken world.
Deacon fights not only the hordes and hordes of undead, but crazy cultist who worship the Freakers, other bikers, and just plain others trying to survive in his quest to save his friend and then to find out the truth of what happened to his wife after letting her go.
The scenery is captivating of the many places you will explore, scour, and loot. From the mountains to the forests to the snowy peaks, to a massive island fortress, you will never stop scanning the horizon as you drive the roads on your motorcycle. I would often crash into a tree or drive off the road, as I was too busy looking through the scenery or just captivated by the beauty of it all.
The one part I hate the most, is not anything that's wrong with the game, but more just my fear of the zombie menace. One big part of the game is destroying "Hordes" or simply big ass groups of these zombies, that move like a pack, and can kill you in an instant. Many parts of the story include you need to clear out a Horde, and the biggest one in the whole game known as the Sawmill Horde still gives me nightmares.
But the taker of the cake for me is the captivating story between Deacon and his search for the truth of what happened to his wife Sarah. If you haven't finished the game, go do that and then come back.
So the story is Deacon can't truly come to terms with the death of Sarah, as he would often visit the site of the helicopter supposedly carrying Sarah crashed. Deacon would eventually happen upon the scientist who allowed her onto the helicopter, which gives hope that she is still alive. After chasing lead after lead, and leaving his buddy Boozer behind, Deacon makes a treacherous journey through a snow-covered mountain top, which he can't return from, to chase the last hope of seeing his wife once more. And the moment that made me unable to put the controller down for a few hours, Deacon joins a militia after noticing the mongrel ring he placed on Sarah's finger before placing on the helicopter, on another man's finger. After initiation, he is lead around the camp until he is introduced to the local scientist who turns out to be the long lost Sarah.
This moment alone made this game a 10 alone. It made me feel as though I had reunited two people who were separated by the chaos of this new world. But the bliss doesn't last all too long as, Deacon must keep his relationship a secret, so they both don't get hurt or caught. But after a long mission together, the two are stranded in a snowstorm in a cold shack, which reignites the flame of their past. After being exposed by a rat name Skizzo, Deacon is exiled and sent for execution, but due to the friends he had made on way, he is saved. Deacon with all those he had helped, storm the island and overthrow the psychotic General and finally saves Sarah for good. And as the credits roll, Deacon and Sarah ride into the sunset, to a life reunited.
Now this game has its detractions and a few bugs, but as a whole, this is probably one of the most underrated games that have been released recently. One crucial part of the game was ruined in playthrough as somehow the audio of a long cutscene was desynched so it just made it hard to focus and enjoy the scene. The only other thing that I can complain about was that there is still much of the side missions to attend to when you connect with Sarah again, but I threw it all out the door after that point as I wanted to get to the story between the two, and everything else didn't really matter to me, and if I was forced to detract from her, I got annoyed and rushed through. But besides that, this game is a must play.
Deacon fights not only the hordes and hordes of undead, but crazy cultist who worship the Freakers, other bikers, and just plain others trying to survive in his quest to save his friend and then to find out the truth of what happened to his wife after letting her go.
The scenery is captivating of the many places you will explore, scour, and loot. From the mountains to the forests to the snowy peaks, to a massive island fortress, you will never stop scanning the horizon as you drive the roads on your motorcycle. I would often crash into a tree or drive off the road, as I was too busy looking through the scenery or just captivated by the beauty of it all.
The one part I hate the most, is not anything that's wrong with the game, but more just my fear of the zombie menace. One big part of the game is destroying "Hordes" or simply big ass groups of these zombies, that move like a pack, and can kill you in an instant. Many parts of the story include you need to clear out a Horde, and the biggest one in the whole game known as the Sawmill Horde still gives me nightmares.
But the taker of the cake for me is the captivating story between Deacon and his search for the truth of what happened to his wife Sarah. If you haven't finished the game, go do that and then come back.
So the story is Deacon can't truly come to terms with the death of Sarah, as he would often visit the site of the helicopter supposedly carrying Sarah crashed. Deacon would eventually happen upon the scientist who allowed her onto the helicopter, which gives hope that she is still alive. After chasing lead after lead, and leaving his buddy Boozer behind, Deacon makes a treacherous journey through a snow-covered mountain top, which he can't return from, to chase the last hope of seeing his wife once more. And the moment that made me unable to put the controller down for a few hours, Deacon joins a militia after noticing the mongrel ring he placed on Sarah's finger before placing on the helicopter, on another man's finger. After initiation, he is lead around the camp until he is introduced to the local scientist who turns out to be the long lost Sarah.
This moment alone made this game a 10 alone. It made me feel as though I had reunited two people who were separated by the chaos of this new world. But the bliss doesn't last all too long as, Deacon must keep his relationship a secret, so they both don't get hurt or caught. But after a long mission together, the two are stranded in a snowstorm in a cold shack, which reignites the flame of their past. After being exposed by a rat name Skizzo, Deacon is exiled and sent for execution, but due to the friends he had made on way, he is saved. Deacon with all those he had helped, storm the island and overthrow the psychotic General and finally saves Sarah for good. And as the credits roll, Deacon and Sarah ride into the sunset, to a life reunited.
Now this game has its detractions and a few bugs, but as a whole, this is probably one of the most underrated games that have been released recently. One crucial part of the game was ruined in playthrough as somehow the audio of a long cutscene was desynched so it just made it hard to focus and enjoy the scene. The only other thing that I can complain about was that there is still much of the side missions to attend to when you connect with Sarah again, but I threw it all out the door after that point as I wanted to get to the story between the two, and everything else didn't really matter to me, and if I was forced to detract from her, I got annoyed and rushed through. But besides that, this game is a must play.
Zuky the BookBum (15 KP) rated Let's Go Play At The Adams' in Books
Mar 15, 2018
<b><i>Warning, this review is kind-of spoilery.</i></b>
Im not even sure where to start with this review what a disturbing, strange, and violent novel.
I had so many different thoughts running through my head with this novel, that I actually had to start myself a little review notebook where I could put all my thoughts on paper. This is going to be a long review I can already feel it.
I should start by saying, this book turned out to be nothing like I thought it would be, but that hasnt let me down. This is a very uncomfortable 4 star read. Where American Psycho was 5 stars because I enjoyed the reading experience and Patrick Batemans deranged, dorky character (in the least sadistic way possible), this is the complete opposite. This was an unenjoyable 4 stars because it was just so dark and disturbing am I making sense?
What struck me about this novel at the beginning was that I disliked our victim, Barbara. She awoke gagged and tied up, and was merely annoyed, if not amused by the childrens game. Even later, when she realised that she really was a prisoner, she was snooty and still thought herself better than the children. Obviously, as the torture progressed and got worse, my opinion of her did change, as she changed too.
While this book sounds like its going to be a quick, dark story about the kidnapping and torture of a babysitter, its actually a lot slower than that and there isnt a huge amount of the torture in front of our eyes. It goes on behind closed doors and is only hinted towards this doesnt make it any less skin crawling, however! This novel is largely focused on the characters and their thoughts throughout the week-long crime.
A lot of peoples reviews mentioned how the characters in this werent believable, but I think otherwise. Yes, maybe the idea that 5 kids all come together and mutually agree to kidnap and torture an adult is a little strange, but as individual people, I think its easy to assume they all really exist.
The eldest of the group is Dianne, at the age of 17, and I personally think she was the least likable but also least believe character. Her involvement in the kidnapping went no further than just because she was in charge of all the children simply because she was the oldest and she let them do whatever they wanted. She had no motive to want to hurt Barbara, she was simply cruel for crueltys sake.
Secondly, theres John, aged 16, and his involvement in the kidnapping went a lot further and was a lot more controversial. He had a motive, and that was simply lust. A sexually frustrated teenager is definitely easy to imagine and while only a teeny tiny amount go on to commit sex crimes, its totally plausible.
Afterwards comes Paul, aged 12, whose presence in the story is very strange. Hes not really got any motive other than his own dark desires. A weirdo 12 year old with violent tendencies is really nothing new Paul was just a little more over the top!
Next is Bobby, aged 10, the only kid of the bunch who shows any remorse at what theyve done. I personally feel that Bobby was the subject of peer-pressure. He thought kidnapping an adult would be fun, and as a young child, couldnt comprehend the consequences of his actions. Other reviewers didnt feel sorry for Bobby, but in a way, I did.
Lastly is Cindy, the youngest of the group at 9 years old. Cindy doesnt feature in the novel an awful lot, but when she does shes simply a bored young girl who doesnt fully understand the reality of whats happening. Even at the end, when things are getting more and more violent, Cindy doesnt care. Shes just going along with the rest of her friends.
As I mentioned before, there isnt a huge amount of on screen torture and violence, but when it is there, its grotesque and nightmarish. Johnson really did know how to write horrifying descriptions. Reading bits and pieces got really dark and at times I felt pretty squeamish.
One quick thing to say about the writing is that it really would have been nice to have more paragraph breaks! When the story is so dark and heavy, you need a bit of a breather sometimes, and you didnt get much of that with this novel.
Right, sorry this review has been a bit of a long, messy ramble! I really wasnt sure how to go about reviewing this weird, sinister book. If you like horrible books that are going to make you feel uncomfortable, and you can get your hands on this for cheap, I think its worth reading even just to be able to say youve read it! But its definitely, definitely not for everyone not even every horror reader.
<i>Thanks to Virginia on Goodreads for lending me her copy to read!</i>
Im not even sure where to start with this review what a disturbing, strange, and violent novel.
I had so many different thoughts running through my head with this novel, that I actually had to start myself a little review notebook where I could put all my thoughts on paper. This is going to be a long review I can already feel it.
I should start by saying, this book turned out to be nothing like I thought it would be, but that hasnt let me down. This is a very uncomfortable 4 star read. Where American Psycho was 5 stars because I enjoyed the reading experience and Patrick Batemans deranged, dorky character (in the least sadistic way possible), this is the complete opposite. This was an unenjoyable 4 stars because it was just so dark and disturbing am I making sense?
What struck me about this novel at the beginning was that I disliked our victim, Barbara. She awoke gagged and tied up, and was merely annoyed, if not amused by the childrens game. Even later, when she realised that she really was a prisoner, she was snooty and still thought herself better than the children. Obviously, as the torture progressed and got worse, my opinion of her did change, as she changed too.
While this book sounds like its going to be a quick, dark story about the kidnapping and torture of a babysitter, its actually a lot slower than that and there isnt a huge amount of the torture in front of our eyes. It goes on behind closed doors and is only hinted towards this doesnt make it any less skin crawling, however! This novel is largely focused on the characters and their thoughts throughout the week-long crime.
A lot of peoples reviews mentioned how the characters in this werent believable, but I think otherwise. Yes, maybe the idea that 5 kids all come together and mutually agree to kidnap and torture an adult is a little strange, but as individual people, I think its easy to assume they all really exist.
The eldest of the group is Dianne, at the age of 17, and I personally think she was the least likable but also least believe character. Her involvement in the kidnapping went no further than just because she was in charge of all the children simply because she was the oldest and she let them do whatever they wanted. She had no motive to want to hurt Barbara, she was simply cruel for crueltys sake.
Secondly, theres John, aged 16, and his involvement in the kidnapping went a lot further and was a lot more controversial. He had a motive, and that was simply lust. A sexually frustrated teenager is definitely easy to imagine and while only a teeny tiny amount go on to commit sex crimes, its totally plausible.
Afterwards comes Paul, aged 12, whose presence in the story is very strange. Hes not really got any motive other than his own dark desires. A weirdo 12 year old with violent tendencies is really nothing new Paul was just a little more over the top!
Next is Bobby, aged 10, the only kid of the bunch who shows any remorse at what theyve done. I personally feel that Bobby was the subject of peer-pressure. He thought kidnapping an adult would be fun, and as a young child, couldnt comprehend the consequences of his actions. Other reviewers didnt feel sorry for Bobby, but in a way, I did.
Lastly is Cindy, the youngest of the group at 9 years old. Cindy doesnt feature in the novel an awful lot, but when she does shes simply a bored young girl who doesnt fully understand the reality of whats happening. Even at the end, when things are getting more and more violent, Cindy doesnt care. Shes just going along with the rest of her friends.
As I mentioned before, there isnt a huge amount of on screen torture and violence, but when it is there, its grotesque and nightmarish. Johnson really did know how to write horrifying descriptions. Reading bits and pieces got really dark and at times I felt pretty squeamish.
One quick thing to say about the writing is that it really would have been nice to have more paragraph breaks! When the story is so dark and heavy, you need a bit of a breather sometimes, and you didnt get much of that with this novel.
Right, sorry this review has been a bit of a long, messy ramble! I really wasnt sure how to go about reviewing this weird, sinister book. If you like horrible books that are going to make you feel uncomfortable, and you can get your hands on this for cheap, I think its worth reading even just to be able to say youve read it! But its definitely, definitely not for everyone not even every horror reader.
<i>Thanks to Virginia on Goodreads for lending me her copy to read!</i>
Gareth von Kallenbach (968 KP) rated V for Vendetta (2005) in Movies
Aug 14, 2019
On a dark and silent night, a young woman named Evey (Natalie Portman), treads carefully through the streets of London unaware of the direction her life is about to take. As an attractive young lady, sneaking out of her home after curfew is filled with peril, especially when she is confronted by a gang of local thugs who happen to work for the government. Despite her protests, the men set up Evey only to be confronted by a masked figure.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
Gareth von Kallenbach (968 KP) rated Indiana Jones and the Kingdom of the Crystal Skull (2008) in Movies
Aug 14, 2019
After 17 years away from the big screen, Indiana Jones has dusted off his trusty fedora and bullwhip in one of the most eagerly awaited returns to the screen in cinema history. Harrison Ford once again plays the rough and rugged archeologist who is as equally adept in the classroom as he is in the depths of an ancient trap laden chamber.
In “Indiana Jones and the Kingdom of the Crystal Skull”, audience are re-introduced to Jones, who is by now an older, and wiser man who spent the years of WWII as a special operative which earned him not only the rank of Colonel, but numerous medals and citations.
The film opens with a group of bad guys forcing Indiana to locate an object from a gigantic storage area in the infamous Area 51. Since Jones was part of a team that examined said object nearly a decade earlier, his services are greatly desired, and he is forced to play along with his captors.
Of course Indiana Jones is still a man of action, and soon turns the tables on his captors in a daring and humor filled action sequence that quickly answers those that doubted Ford could pull off his charismatic character in his 60’s.
The events of the situation do not go unnoticed by the U.S. government who suspect Jones of collaborating with the enemy, and in the Red Scare America of the 1950’s Jones soon finds himself suspended from his teaching position and looking to head overseas.
As Indy’s train heads out of town, he is approached by a motorcycle riding messenger who says his name is Mutt (Shia LaBeouf), and he has been sent to find Indy by a former college of Indy’s Professor Oxle (John Hurt). Intrigued, Jones listens to the tale Mutt tells him that people have kidnapped Oxley and his mother, and he shows him a letter that Oxley instructed him to pass along to Indy should anything happen to him.
Before Indy can dig further into the mystery, he and Mutt are accosted by thugs and after a daring race through traffic on Mutt’s motorcycle, find themselves on a plane to South America in search of Oxley and Mutt’s mother as well as the fabled Crystal Skull that legend says will grant amazing powers to anyone who returns it to the fabled Golden City.
Thinking that his old friend Oxley may have succeeded where Indy was unable to many years earlier, Jones takes up the cause of locating the fabled artifact and the city as he believes that they are also the keys to locating his missing friend. The film really slows down here and devotes a good amount of time to advancing the story and characters and thanks to the amazingly detailed sets and enjoyable characters; you may find yourself not minding the change of pace.
Of course there are plenty of bad guys to add to the mix, including the evil Irinia Spalko (Cate Blanchett), who is leading a team of Russian soldiers who also have designs on the skull, as it would give them the power to read and control the minds of the leaders the world over, amongst other powers that would be used for their aggressive agendas.
What follows is an effects-laden adventure leading to a grand finale that is not as spectacular as past films in the series, but enjoyable nonetheless. When the action comes it is solid, and while some of it seems to be a retread of some of the classic moments of the series, it does deliver enough thrills to keep fans happy. There are some very welcome moments in the film such as a nice tribute to Sean Connery and the Late Denholm Elliot as well as a cleverly placed cameo early in the film during the warehouse fight.
Shia LaBeouf is an interesting addition to the series and his scenes with Ford are very enjoyable. They have a natural chemistry and do not seem forced like the Short Round character from “Indiana Jones and the Temple of Doom”. I was also very happy to see Karen Allen return to the series as Marion Ravenwood. She has truly proven to be the only love interest in the series that truly measures up to Indy, and her fiery temper with a girl next door charm is the perfect foil for Jones.
The effects in the film are not groundbreaking, but solid, however some may find that the films plot is a bit to complex and takes too long to setup. There were funny moments in the film to go along with the action and viewers who pay close attention will catch some very subtle nods to other moments in the series.
I was pleased with the sets in the film as Director Steven Speilberg and Producer George Lucas clearly paid attention to details in the look of the film. The tombs and exotic chambers depicted in the film had a very immersive nature to them much the same way that classic Disneyland rides like Pirates of the Caribbean and The Haunted Mansion place guests right in the middle of the spooky and exotic locales. From cobwebs, skeletons, and insects and well as treasures galore, it was like being in on the adventure with Indy.
The series does have some life in it and while the film does not measure up with the first film in the series, I would say it is on par with “Temple of Doom” and was for me, more enjoyable than “The Last Crusade.” The film leaves the door open for yet another adventure, and if comments from Speilberg and Lucas are to be taken seriously, we may see the beloved archeologist back on the big screen in the not too distant future.
In “Indiana Jones and the Kingdom of the Crystal Skull”, audience are re-introduced to Jones, who is by now an older, and wiser man who spent the years of WWII as a special operative which earned him not only the rank of Colonel, but numerous medals and citations.
The film opens with a group of bad guys forcing Indiana to locate an object from a gigantic storage area in the infamous Area 51. Since Jones was part of a team that examined said object nearly a decade earlier, his services are greatly desired, and he is forced to play along with his captors.
Of course Indiana Jones is still a man of action, and soon turns the tables on his captors in a daring and humor filled action sequence that quickly answers those that doubted Ford could pull off his charismatic character in his 60’s.
The events of the situation do not go unnoticed by the U.S. government who suspect Jones of collaborating with the enemy, and in the Red Scare America of the 1950’s Jones soon finds himself suspended from his teaching position and looking to head overseas.
As Indy’s train heads out of town, he is approached by a motorcycle riding messenger who says his name is Mutt (Shia LaBeouf), and he has been sent to find Indy by a former college of Indy’s Professor Oxle (John Hurt). Intrigued, Jones listens to the tale Mutt tells him that people have kidnapped Oxley and his mother, and he shows him a letter that Oxley instructed him to pass along to Indy should anything happen to him.
Before Indy can dig further into the mystery, he and Mutt are accosted by thugs and after a daring race through traffic on Mutt’s motorcycle, find themselves on a plane to South America in search of Oxley and Mutt’s mother as well as the fabled Crystal Skull that legend says will grant amazing powers to anyone who returns it to the fabled Golden City.
Thinking that his old friend Oxley may have succeeded where Indy was unable to many years earlier, Jones takes up the cause of locating the fabled artifact and the city as he believes that they are also the keys to locating his missing friend. The film really slows down here and devotes a good amount of time to advancing the story and characters and thanks to the amazingly detailed sets and enjoyable characters; you may find yourself not minding the change of pace.
Of course there are plenty of bad guys to add to the mix, including the evil Irinia Spalko (Cate Blanchett), who is leading a team of Russian soldiers who also have designs on the skull, as it would give them the power to read and control the minds of the leaders the world over, amongst other powers that would be used for their aggressive agendas.
What follows is an effects-laden adventure leading to a grand finale that is not as spectacular as past films in the series, but enjoyable nonetheless. When the action comes it is solid, and while some of it seems to be a retread of some of the classic moments of the series, it does deliver enough thrills to keep fans happy. There are some very welcome moments in the film such as a nice tribute to Sean Connery and the Late Denholm Elliot as well as a cleverly placed cameo early in the film during the warehouse fight.
Shia LaBeouf is an interesting addition to the series and his scenes with Ford are very enjoyable. They have a natural chemistry and do not seem forced like the Short Round character from “Indiana Jones and the Temple of Doom”. I was also very happy to see Karen Allen return to the series as Marion Ravenwood. She has truly proven to be the only love interest in the series that truly measures up to Indy, and her fiery temper with a girl next door charm is the perfect foil for Jones.
The effects in the film are not groundbreaking, but solid, however some may find that the films plot is a bit to complex and takes too long to setup. There were funny moments in the film to go along with the action and viewers who pay close attention will catch some very subtle nods to other moments in the series.
I was pleased with the sets in the film as Director Steven Speilberg and Producer George Lucas clearly paid attention to details in the look of the film. The tombs and exotic chambers depicted in the film had a very immersive nature to them much the same way that classic Disneyland rides like Pirates of the Caribbean and The Haunted Mansion place guests right in the middle of the spooky and exotic locales. From cobwebs, skeletons, and insects and well as treasures galore, it was like being in on the adventure with Indy.
The series does have some life in it and while the film does not measure up with the first film in the series, I would say it is on par with “Temple of Doom” and was for me, more enjoyable than “The Last Crusade.” The film leaves the door open for yet another adventure, and if comments from Speilberg and Lucas are to be taken seriously, we may see the beloved archeologist back on the big screen in the not too distant future.
Neil Goddard (3 KP) rated Hellboy (2019) in Movies
Feb 27, 2020
It all looked soooo promising
Contains spoilers, click to show
Let me say this upfront; David Harbour looks f---ing boss as Hellboy. The makeup is far superior to that of Ron Perlman, not that there was anything wrong with Ron Perlman’s, but with this new incarnation it’s all in the eyes. Deep red, sunken, pained. Sadly, that is all I can say about this movie that is one hundred percent genuinely positive. There are positives however, but they come with a big ‘however’.
I was initially a little concerned that we were getting a re-boot and not a direct sequel to Hellboy II: The Golden Army (2008), especially as it still seemed so recent and was so well made. I know it was over a decade ago but quality is timeless, yeah? Then David Harbour was cast and Neil Marshall announced as director. Great, thought I, an actor I like and a director who’s put out some solid genre material. I saw the first picture of Harbour as Hellboy and I was genuinely excited. I saw the trailer and again, excited. Then I watched the film.
Eurgh, where to start?
Firstly, Ian McShane’s initial voice over is clunky and ill fitting, then they throw in some b@llocks about King Arthur and Excalibur. I had my first wobble here, as some of the effects seemed less than special.
Cue opening titles.
The film starts with a Mexican wrestling match that is purely exposition to let us know Hellboy is a hard drinking and hard fighting anti-hero working for an organisation that deals with the paranormal. The make up for his vampiric opponent is also great (can’t fault the makeup department), but the scene seemed superfluous. We get the nubbin of the story forming now; some horrible witchy wench from way back when was cut into bits and flung around jolly old England to prevent her from spreading a right ‘orrible plague. Turns out a potty-mouthed Liverpudlian pig-monster is collecting said bits in the hope of putting her back together in exchange for his normal appearance. Scouse pig-monster is quite entertaining.
Hellboy goes to England at the request of an upper-class paranormal society to help them kill giants; this goes t1ts up. Again, this seems like unnecessary exposition to introduce Alice, a medium who he rescued as a baby, who now rescues him in a transit van. We also get introduced to M11’s Agent Daimio. There something wrong with him, he keeps injecting himself with a serum to stop something happening. I knew at this point we’d get to see what it was eventually, probably at a juncture where something is needed to rescue someone important. However, at this point I had a feeling it would be bad, I just didn’t know how bad.
There some more fighting, some good effects, some mediocre effects and some terrible effects. There’s some good one-liners, there’s some dull and/or terrible dialogue and then we get the film’s conclusion.
There’s something I’ve been putting off mentioning as I didn’t want the entire review to be about it, and it could have been; the witchy wench at the heart of all this paranormal consternation, Nimue, is played by Milla Jovovich and she is terrible. From when she first opens her mouth to her predictable demise, she is terrible. Terrible. TERRIBLE.
I love some of the Resident Evil films but all she’s required to do is some slow-motion scissor kicks and shoot zombies and zombie-dogs in the face. She is tolerated, rather than enjoyed. Here she is emoting, or at least I think that’s what she was going for, and as a depiction of an evil entity bent of the destruction of all mankind, she is, for want of a better word, cack.
David Harbour and the Hellboy franchise deserve better than this. To be blunt, the franchise has better than this and Mike Mignola should be a bit more f---ing precious with his creation.
Hellboy (2004) was genuinely exciting; it was an origin story that bought that story full circle for its thrilling and apocalyptical conclusion. It has a wonderful nemesis, great support and breath-taking visuals. The re-tread of the origin story in Hellboy (2019) is, again, one more unnecessary diversion from a sketchy plot, which, for all its meagre bones takes a f-ck load of time to tell.
Hellboy II: The Golden Army (2008) was equally impressive. It also introduced a fully formed community of creatures and customs hiding alongside mankind. It did so with nonchalant aplomb. Nothing seemed irrelevant or forced. For two films with almost identical running times, Hellboy (2019) tells less of a story with way more waffle.
So, I did mention there were some positives. David Harbour is great. He’s dour, sarcastic, defiant and funny, he just has no engaging story in which to be all those things. Ian McShane is good as the father figure but he is overshadowed by memories of the late, unbelievably great John Hurt. The story of a witch trying to destroy mankind is solid fantasy movie gold and the unleashing of her plague late in the final act is suitably hellish; bizarre demons emerging from city streets and tearing humans limb from limb, it’s bloody wonderful and wonderfully bloody. They all could have come straight out of a Clive Barker fever dream. However, it’s too little too late, by this point in the story we’ve had too many cutaways, too much shoddy CGI, and Agent Daimio stinking up many a scene with his ‘will he won’t he’ turn into something rubbish… he does.
The worst part of all this is I don’t know if they can come back from this. The film may have sunk the franchise at least for the next few years.
I do however, look forward to a re-boot in a decade or so, if we haven’t all been assimilated by aliens, overrun by AI robots or decimated by a supernatural plague bought on by some witchy wench with an axe to grind.
THREE WORD SUMMATION: Big Red Turd.
I was initially a little concerned that we were getting a re-boot and not a direct sequel to Hellboy II: The Golden Army (2008), especially as it still seemed so recent and was so well made. I know it was over a decade ago but quality is timeless, yeah? Then David Harbour was cast and Neil Marshall announced as director. Great, thought I, an actor I like and a director who’s put out some solid genre material. I saw the first picture of Harbour as Hellboy and I was genuinely excited. I saw the trailer and again, excited. Then I watched the film.
Eurgh, where to start?
Firstly, Ian McShane’s initial voice over is clunky and ill fitting, then they throw in some b@llocks about King Arthur and Excalibur. I had my first wobble here, as some of the effects seemed less than special.
Cue opening titles.
The film starts with a Mexican wrestling match that is purely exposition to let us know Hellboy is a hard drinking and hard fighting anti-hero working for an organisation that deals with the paranormal. The make up for his vampiric opponent is also great (can’t fault the makeup department), but the scene seemed superfluous. We get the nubbin of the story forming now; some horrible witchy wench from way back when was cut into bits and flung around jolly old England to prevent her from spreading a right ‘orrible plague. Turns out a potty-mouthed Liverpudlian pig-monster is collecting said bits in the hope of putting her back together in exchange for his normal appearance. Scouse pig-monster is quite entertaining.
Hellboy goes to England at the request of an upper-class paranormal society to help them kill giants; this goes t1ts up. Again, this seems like unnecessary exposition to introduce Alice, a medium who he rescued as a baby, who now rescues him in a transit van. We also get introduced to M11’s Agent Daimio. There something wrong with him, he keeps injecting himself with a serum to stop something happening. I knew at this point we’d get to see what it was eventually, probably at a juncture where something is needed to rescue someone important. However, at this point I had a feeling it would be bad, I just didn’t know how bad.
There some more fighting, some good effects, some mediocre effects and some terrible effects. There’s some good one-liners, there’s some dull and/or terrible dialogue and then we get the film’s conclusion.
There’s something I’ve been putting off mentioning as I didn’t want the entire review to be about it, and it could have been; the witchy wench at the heart of all this paranormal consternation, Nimue, is played by Milla Jovovich and she is terrible. From when she first opens her mouth to her predictable demise, she is terrible. Terrible. TERRIBLE.
I love some of the Resident Evil films but all she’s required to do is some slow-motion scissor kicks and shoot zombies and zombie-dogs in the face. She is tolerated, rather than enjoyed. Here she is emoting, or at least I think that’s what she was going for, and as a depiction of an evil entity bent of the destruction of all mankind, she is, for want of a better word, cack.
David Harbour and the Hellboy franchise deserve better than this. To be blunt, the franchise has better than this and Mike Mignola should be a bit more f---ing precious with his creation.
Hellboy (2004) was genuinely exciting; it was an origin story that bought that story full circle for its thrilling and apocalyptical conclusion. It has a wonderful nemesis, great support and breath-taking visuals. The re-tread of the origin story in Hellboy (2019) is, again, one more unnecessary diversion from a sketchy plot, which, for all its meagre bones takes a f-ck load of time to tell.
Hellboy II: The Golden Army (2008) was equally impressive. It also introduced a fully formed community of creatures and customs hiding alongside mankind. It did so with nonchalant aplomb. Nothing seemed irrelevant or forced. For two films with almost identical running times, Hellboy (2019) tells less of a story with way more waffle.
So, I did mention there were some positives. David Harbour is great. He’s dour, sarcastic, defiant and funny, he just has no engaging story in which to be all those things. Ian McShane is good as the father figure but he is overshadowed by memories of the late, unbelievably great John Hurt. The story of a witch trying to destroy mankind is solid fantasy movie gold and the unleashing of her plague late in the final act is suitably hellish; bizarre demons emerging from city streets and tearing humans limb from limb, it’s bloody wonderful and wonderfully bloody. They all could have come straight out of a Clive Barker fever dream. However, it’s too little too late, by this point in the story we’ve had too many cutaways, too much shoddy CGI, and Agent Daimio stinking up many a scene with his ‘will he won’t he’ turn into something rubbish… he does.
The worst part of all this is I don’t know if they can come back from this. The film may have sunk the franchise at least for the next few years.
I do however, look forward to a re-boot in a decade or so, if we haven’t all been assimilated by aliens, overrun by AI robots or decimated by a supernatural plague bought on by some witchy wench with an axe to grind.
THREE WORD SUMMATION: Big Red Turd.